Monday, February 27, 2012

Color me King Learish. Color me the Fool.

My feet are soaked in ginger ale. I have clarity. Not so much from the ginger ale, but clarity nonetheless. And I still know so little. And I love that! I dread ever figuring it all out. I started this blog years ago based on a poem and then play that I wrote....about pieces, about trying to figure it all out in the pieces. The pieces of ourselves that we fragment to each other. And I have pieces.

I have a friend named Kelley that I share zombies and so much more with. I get to share edelweiss and ONJ with her wife Lisa. There is fire, cupcake, Flo. Shawn makes me laugh like no one else; Marc sprinkles more giggles. Marcos reminds me where I want to go because he knows better than anyone where I've been. Agnes Young da Cruz is far away, but still a force in my quest for realizing my potential. RoFro reminds me to listen to myself, to just try. Stephanie DawnOnnerate helped me climb a mountain once, the view is pretty when we choose to climb. Steph Yvonne shares my name and a history. I work for an organization with a great mission and some of the smartest people I know, who make me want to be more.

I have so much. But...Be more. I'm trying to be a better actor, better person, by taking a break. And re-acquainting myself with my senses—writing, learning, breathing, and wanting without taking, but creating, beholding. Today, I saw the best Mercutio I've had the pleasure of seeing yet—and seeing another artist soar is one of my most very favorite things to behold. Also today, KOLT Run Creations closed a show that reminds me why I do theatre and what I love to behold—story, truth, risk, unknown. And in that show were the best performances I've seen those artists deliver. Beheld.

And there are others that shall remain anonymous who have delivered touch and breath to my soul and who shaped my mouth into kisses, pouts, and smiles. Who have pushed my seems and mended my rips. And I care for you...even when I'm annoyed by you, unraveled to my naked core. Be more—to listen when I'm wrong. And this is my saccharine, and overly self-indulgent ode and thank you note to those who live their lives out loud, those who stumble, self-reflect, ask themselves the questions that matter. And make no apologies for trying. Those who search for more.

We all close doors. We all open windows. Exits. Entrances.

Yeah, I know what you're thinking...."shut up" and/or "what the hell did she mix with her ginger ale" or "stop writing ginger ale, this isn't a freaking drinking game!"

[Crazy rambling note: Exeunt Flourish.]

[Lights out on solitary ginger ale bottle, superfluous scribe.]

Epilogue: The zombies did this to this note. They make me feel my mortality all over, down to the hands that type this...these hands kissed by blind men—unwashed of mortality. Color me King Learish. Color me the Fool.

Break legs. Be kind. Be more.

Friday, June 17, 2011

Choosing Lost and Red Font

Someone I've been working with for the past 5 weeks asked me, "What would you absolutely say yes to?" That list included acting and theatre in many forms—no surprise. It also included health and financial security, both of which I'm working on. All of my absolute yes items were listed in bold black 12 pt font. One thing on the list was in red font however—Relationship. Not valentine, candy-wrapper red, but the kind of red that speaks for itself in whispers or shouts. We gave that red font item courteous attention and then manuevered elsewhere. She said, "It seems to me you're a writer, but have yet to choose being a writer. It's the one thing you always go back to. Perhaps if you choose..."


It always comes to choices doesn't it?


When I worked in San Mateo and lived in San Francisco, I would often get myself lost on the surface streets so I could find my thoughts on the way home. And there was always a new way home. It was always comforting, alluring, and inspirational to not know where I was while gazing at lamplight in windows on winding streets and straight avenues. There was something inviting about the windows at night in the city I love most. Perhaps it was because of the fog. The city attempting discretion by covering its naked shoulder with a shawl of flirtatious fog. That city is the best and cruelest lover. It kisses you one night, and lets distraction force you to islands the next. A lover like few others I will always return to and adore beyond measure. Tonight, I left rehearsal with a heaviness not measured in my hips or croissant on my lips or lost lines or props, but rather in my thoughts about a 1,000 things not scripted; a heaviness measured in care, fingertips, and font. And those fingertips pulsing with concern held the steering wheel and I thought for the first time in years, "Get lost, take your time like you once did going home." And I turned up the music, Adele my soundtrack, and drove the surface streets from Carmichael to downtown Sacramento.


And tonight as I chose to get lost, I found...I couldn't. Not tonight. I know Sacramento too well and my sense of direction bettered my desire. I was completely found and sometimes that's the worst kind of lost. And I knew my way like the air in Sacramento knows summer. And I know summer. Instead of lamplight and foggy windows, I saw furniture and mirrors in sweaty store windows. And I saw summer. I saw cop cars and the shores of suburbia and corner stores that sell epic soda—not the ocean, hills, and windows fragranced with hemp and masa; filled with the sound of mah jongg.

I chose to write about something completely self indulgent. I chose to wonder and worry and struggle with want. I chose to write about not being able to get lost. And it's summer. And I'm hot. And I want. I was hoping my compass was broken tonight. And I found that sometimes we choose to get lost because we fear our arrival anywhere alone.

I chose.

And I write.

And I can't un-red font the man I love. And perhaps that's the choice. And an absolute yes.


the soundtrack tonight.

Thursday, March 17, 2011

Theory (evolved)

Theory (or The Five Step Argument for Evolution by Natural Selection)

Epochs are quicker than the chance of you loving me.
And yet,
your Anthropology—
your existence finds my relic self (artifacted hope)
with your Hellenic curved lips that unearth me;
unbury me with your science-sculpted mouth.

I. Variation: Individuals in a population differ in characteristics.
(Some brown, some blue. Summer/winter. Infinite desire.)

Have you seen my eyes trace the outline of your shape?
How I observe the length of your fingers
and the blueprint of your hands.
I behold the framework of your variety.
Glad of your blend—your hair
(storied atop your head)
the color of sand and wood and bread.
Your Y chromosome taste—vintage sweet port,
drip to my festive vessel tongue.
O delicious little synthesis of want.

II. Inheritance: This variation is passed from parent to offspring.
(Time and Sex; love luck.)

You—descendant of dirt, cells, the color red.
Earth strata brilliance,
time temple of heritage.
Thousands of years and days and weeks.
Neolithic minutes.
Dinosaur religion, orgasm Geography,
Glaciers of Sex, bedroom Geology—
evolution you to me.
Blow lava, flow sand and rock.

III. Competition Caused by Excess Reproduction: Organisms have the capacity to produce far more offspring than can actually survive.
(There is competition for resources just as there is for your touch.)

There is more want in the marrow of my skin
for your Sun-shaped look than time has life.
I’m not as perfect as the rest—
I have only my words, my art,
my tongue as dowry.
The philosophy of my Willendorf breasts,
the ochre of my heart,
the crop of my legs,
the water of my touch,
the shore of my womb my oblation.

IV. Differential Reproductive Success: Because there is variation (Step I) and competition (Step III), some variants will produce more successful offspring.
(is it really just chance? and I lost?)

I mind map your genes with mine
like a school girl sketching flowers
in the letters of your name in margins,
and note the possibilities of our touch
(replicated sugar lust, infinite combinations of
our limb percussion, hair collision)
and reproduce ourselves into trees,
as your voice embeds
itself into my soul DNA
and wraps around my name.

V. Evolution: With differential survival (Step IV) and inheritance (Step II) there will be a change in the genetic composition of a population over time.
(Dare I suggest?)

I dare to “disturb the universe”
with my experiment, by writing this.
Let’s dance the mix of your hair with my skin.
Tangle my laugh with your careful step,
Summer rains in bed.
Imagine the color of eyes we might create,
the bend of limbs
careful in my womb.
Your smile with my sense.
Your y with my x.

Theory: That which has not been disproved; a set of statements to explain fact or phenomena.

It is your very moment in time,
Your perfect life,
Your feet of desert,
Your blood of atoms and Apollo lips,
Your dominant traits of desire—
I call on Science,
Poets, any Oracle or Mother God(s),
whatever will work to tell you
this simple fact,
replicated over and over in my heart—
natural selection be damned,
chance or not,
chosen or left,
undiminished,
embarrassed:

I love You.

Tuesday, January 11, 2011

the calendar, math, and love

This poem started as my Facebook status for January 1, 2011. It immediately sparked my imagination, compounded by love and desire, and evolved into this poem. Written in two hours by design.

the calendar, math, and love

I'm a one surrounded by twos.
reminded of my solitary sum
on this day of ones.
the day, the biography of my heart—
(one, one, one, one)
a calendar square for families and
couples to write times for football
practice, airplane departures,
anniversaries,
ovulation charts.
I wonder, have I really been divided,
split apart, the sum of my parts,
and left to look for the second
one of my one, to be two
that would make me one?
or am I forever primed
to only be divided by myself, by one?

one stanza isn’t enough
to hold metaphors galore
for my fractioned heart
so I’ll make it two
where I can parse my soul
into less than couplet parts.
embarrassed without measure
as I am wont to do concerning love.
(even rhymes need another to work,
as cloyingly saccharine as demonstrated not
so artfully at the start.)
O,
my would-be other part, part of our one,
it is You.
O, it is You!
here I write the proof
of my ten threaded through your hair.
the order of our operations—
two eyes that submit to your Summer,
two wheat lips that take away one breath,
two knees that bend from one adored glance,
the heat of my skin under your touch,
the want multiplied to exponential heights.
the love—infinite, unsolved—

and I can't even count
because my tropes multiplied
to a third part of this verse.
problem: You are the one,
yet in another sum.
my heart the worn away paper

of oft mistaken math,
erased and re-penciled
trying to get it right
as the fucking calendar taunts
(one, one, one, one)
and I can only end this
farce of parts
with three selfish syllables of one—
i love You!

Thursday, September 23, 2010

Blue Moon of Kentucky and My Moon My Man

It seems there's always a moon when doom is involved.

Sometimes you notice impending doom just before it actually pends or dooms or…you know, waxes from impending to !$#%$%#$. Sometimes you’re tempted by the moon to let a different kind of doom, the doom of love bend you, alter you because whether you want to or not, you love that Tempest and his milk glass mouth, his moonlight bone. And sometimes you try to flee the moon, but you're just not fast enough.

Last night the moon ate summer up as doom took a tangential turn and became less about heartbreak and more about rubber and asphalt. I noticed one of my rear tires looked extremely low. I know I tend to write with a lot of metaphors and allusions, and I can’t make any promises about the next sentence or paragraph, but this time, in this sentence, a rear tire is just a rear tire.

After confirming my supposition with a friend at dinner, I ventured into the downtown Sacramento night for my first attempt in my 40 years of life to pump air into a dreadful looking orb. I’m pretty independent. I can be alone. I get lonely, but I can be alone. I lived in San Francisco for four years, you learn to be lonely in that city, the fog on Clement Street requires it. I’m smart. I have a college degree. I can figure things out like the standard deviation of yarn strength (don’t ask, but I’ve done it) and how to make cotton candy martinis. So filling a tire should be easy.

I was empowered by my quest to blow up my rubber so my rear wouldn't get punctured by something sharp and left to smack against hot, unforgiving asphalt. I went to a gas station at 16th and X — “Air Out of Service”. That handwritten sign had the audacity to frazzle my nerves—it took me from one emotional equinox to the next. From my ready-to-take-care-of-myself-like-always equinox to my at-my-limit-of-doing-it-all-by-myself-I'm-going-to-cry-because-I'll-always-be-alone equinox. That's when I pulled out my phone and texted a friend, "This is why I hate being single....fucking almost flat tires at night #$#%$#%!" I know, not the most productive and positive way to deal with my situation. But sometimes text venting happens when you're alone. From air in tires to killing bugs to broken shower rods to creeps staring in my window to walking into a dark apartment alone late at night to….let’s face it, sex—being alone sometimes just kind of sucks! You get satisfaction out of doing it by yourself, but let's face it—it feels better when someone else does it with you.

I had a mini pity party and ventured to the next gas station at Broadway and 21st.

Arghhhh. I pulled in and had to wait for someone else to finish using the air. Didn't they know that it was all about me and my sad moon phase? I waited as this scruffy looking man parked near the popular air pumps looked through the trunk of his sports car. Finally, it was my turn to pump air (is that what you do? pump it? even when it makes a sucking noise? how does pumping equate to sucking?) into my sagging rear. I pulled the long hose towards my rear and said to myself, "figure it out fast so you don't look like an idiot." There I was, dealing with heartbreak, sad I was pumping my rear by myself, and I still cared what some stranger might think about my pumping technique. And then....

In an unmistakable southern accent, "Miss, you need some help there?"
I looked up at the Han Solo of the Chevron station on Broadway. He was scruffy, and about to become my hero.
I said while holding the hose with both hands, "Umm, I'm not sure, I've never done this before."
He said, "Let me do that for you."

And he took the hose from my hands, got on his knees, found the hole in my rear tire and turned the sucking into pumping. He asked, "Do you know how much it can take?"
I said, "I don't know what that means."
He smiled and asked if I had, "a light on my phone" so he could "look at my rear tire to see its number."
I gave him my phone but the light kept going out too fast. He said, "Hell, why don't I just use mine and do it, it's stronger and lasts longer."

(this was all very foreign to me)

And he ran his finger along the edge of my rear tire very slowly, where it meets the shiny edge of the cap, until his fingers found the spot. He found my number.

I told him, "you're kind of a parking lot super hero."
He said, "Nah, I'm just from Kentucky, this is what we do, we take care of people." (I know this to be true, firsthand).
I said, "My father is from Kentucky, from Paintsville."
He smiled, "Damn, I'm from Harlon, that's about 45 minutes from Paintsville."
I said, "My grandmother is from near Greasy Creek." And he knew it well. Greasy Creek is in the hills where the moon sits on top of trees on top of mountains on top of coal mines on top of diamonds. "What a small world," I said.
He said, "My father was a coal miner." I said, "My grandfathers and their fathers were coal miners too."
I asked him his name, thanked him, and he said, "my pleasure miss." And I left.

I'm still heartbroken over a man I fell in love with under a moon. I still fall asleep at night alone. I still have to kill my own bugs. But for a few moments, when I least expected it, I wasn't alone. Thanks to Brian—scruffy parking lot, Han Solo, lucky charm, Blue Moon of Kentucky super hero—there is a little less doom under this pending autumnal moon, at least of the rubber and asphalt kind.

And I ate Lucky Charms for dinner as I wrote this. I thought about the moon man I love, my choice to be alone as an act of love, my favorite time of the year approaching, fall and winter one more gibbous closer, I listened to Patsy Cline and Feist....and knew one thing for certain—I'll never stop loving him, no matter what the moon brings. Good or bad. Clean, dirty, or pretty.....then I bit into a blue marshmallow moon.




Blue Moon of Kentucky
I said, blue moon of Kentucky keep on a shinin'. Shine on the one that's gone and left me blue.....


My Moon My Man



My moon, my man, so changeable and such a loveable lamb to me. My care, my coat. Leave on a high note, there's nowhere to go but on.

Heart on my sleeve, not where it should be, the song's out of key again. My moon, my man, so changeable and such a loveable lamb to me. Take it slow. Take it easy on me. And shed some light. Shed some light on me please......

My moon and me. Not as good as we've been, it's the dirtiest clean I know.....

Sunday, November 29, 2009

Sometimes there's so much beauty in the world...

"It was one of those days when it's a minute away from snowing. And there's this electricity in the air, you can almost hear it, right? And this bag was just...dancing...with me. Like a little kid begging me to play with it. For fifteen minutes. That's the day I realized that there was this entire life behind things. And this incredibly benevolent force that wanted me to know there was no reason to be afraid...ever. Video's a poor excuse, I know. But it helps me remember...I need to remember. Sometimes there's so much beauty in the world I feel like I can't take it...and my heart is just going to cave in." -American Beauty

I didn't realize this morning that one of my favorite scenes ever, in one of the most moving films ever would replicate itself throughout my day. Perhaps it caught me off guard because it's always one of those days for me, but today seemed like it was trying to be more...benevolent. It's been near snowing in my apartment for weeks and the electricity in the air has fingered my skin and left me a little windblown.

I've had an idea simmering under my skin for a new play for a couple of months now and this morning I stared at my monitor trying to telepathically maneuver the beginnings of it from my soul to the screen. I haven't written in awhile and as much as acting is my breath, my medium of choice, I've needed to write of late like I've needed to breathe. I had a writer's perfect storm this morning—a craving, hope, intangible desire, a figurative acnestis, The Lightning Strike playing for the 1,000th time on my playlist, and my window overlooking a tree disrobed by winter wind on Q Street. Nature and nakedness. I love naked. I love nature. And nothing happened. Nothing happened for hours. So like any writer blocked, I decided to go shopping instead. And by shopping I mean procrastinate. Whoever said that inspiration can't be found in procrastination has never perfected the art of waiting. And if I know anything, I know how to wait. And wait. And watch. See.

I bundled up in my thick, envy-green sweater and headed outside. As I was scooping dried leaves from near the wiper blades on my car, one of the leaves cut me between my fingers. I've never been leaf-cut before and for a moment I just stared at the wound. "Lean upon a rush, the cicatrice and capable impressure thy palm some moment keeps." I raised my inky brows and reflexively brushed my hand near my sweater in the back and drew my hand back to my mouth and licked between my fingers. As tongue met stung, I saw it. This plastic bag blowing around in front of me over concrete and leaves. And it danced. It fucking danced. I found myself just watching it cinematically float through negative space. Sometimes it just happens like that. Out of nowhere this elemental grandeur of sadness and beauty crashes into you, floats by you, and taunts you, "I won't let you catch me...because I want you to." I don't know when I found myself moving toward it, just hoping this beautiful thing would touch me, if only for a moment. And just as I was about to impede its path, touch it, I pulled away. It needed to come to me. It was leading, it started the dance. And if anything...I couldn't help but just stand there and watch it, licking my swoon wound, believing in the life behind things. The things we don't always want to see. And it reminded me of someone.

Sometimes transitions are choppily edited in life. So not long after my repose in the gutter of leaves, I found myself making the ever so difficult decision of which cough drops to buy. I knew I wanted sugar-free, but where were the cherry ones? I was congested but still in an almost ethereal, spiritual mood from my personal American Beauty moment. My mind drifted through collages. Lipstick on a white coffee cup near sugar spilled on a coffee counter. The feel of a wall against my palm seconds before I go on stage. A garden. The way light weaves through the sari fabric covering my bedroom window and the fuchsia glow it emits for only a few moments each day—usually when I'm not home. A kiss. Punctuation—elusive ellipses and fuerte em dashes. That moment with him. In that little bathroom without a door, watching him take a bath after sex—he cupped the water like he held my breasts, let the water fall. The water travelled over his stomach as we discussed what shouldn't happen next. Water will never look or sound as beautiful or serious. How could it? And my heart caves in a little now as much as it did then. Sometimes it's the couldn'ts and can'ts and shouldn'ts we steal moments from that are worth it all. When we're really honest with ourselves. When we let ourselves be naked for another, if only behind doors. If only for a moment. And then——

HIM: Um, wow, wait—

(I turn to find a man staring at me.)

ME: Excuse me?

HIM: You have a leaf?

ME: I have a what?

(I'm clutching bags of fruity menthol orbs as he reaches and nimbly places his hand on my ass, lingers for what seems like an ass-feeling eternity, and pulls his hand away holding a dry leaf.)

HIM:
See? You have a leaf. Look at those edges. They're kind of sharp like they could poke you or cut you.

(He runs his finger along the edge of the leaf not taking his eyes off of me.)

ME (internally): Really? This is all I ever get universe? A serial killer copping a feel and pulling dry leaves off of my ass near cough drops and an end-cap of Dixie cups? This is the best you got?

ME (externally): Oh, um, thank you. You're like a leaf hero...or something.

HIM: You mean leaf blower?

(Said with raised brow and smarmy o-shaped lip grin used for imitating blow-up dolls.)

Beauty here? He creeped me out, I was molested while congested, and the best I could come up with was "leaf hero" when confronted with a less-than-desirable pervert.

My day: I was writer blocked. Cut by a leaf. A bag danced with me like it just walked out of a movie à la Jeff Daniels and teased me like a new lover. I experienced film déjà vu. I was groped in a grocery store. Later that night I pressed a button to flush a theatrical toilet twelve times and I tried to kill ants with hairspray thereby almost suffocating the actors. There was cake. Frosting. Champagne in plastic. And then I dreamt about water. And pears. And I write this because...


"I need to remember. Sometimes there's so much beauty in the world I feel like I can't take it...and my heart is just going to cave in." -American Beauty

Monday, June 01, 2009

*Blow Torch Chicken Art Ignites the Venus of Willendorf

Ever been drawn in by someone and not known why? Have you ever been irrevocably changed in a parking lot? Were there blow torches and chicken and art involved?

I've actually had some pretty notable parking lot encounters. I met Majid in a parking lot when I was a virgin. When we were dating he tried to change that in another parking lot outside his restaurant. Who knows if he would have been successful, because we were stopped by the local Sheriff's department—at 3:00 a.m. The officer noticed my car with fogged-up windows rolling backwards from one side of the parking lot to the other. We had accidentally released the emergency brake during our parking lot ardor. That was pretty momentous, but it didn't really change me irrevocably—I eventually stopped dating Majid and stayed a virgin for awhile longer. In the parking lot of a coffee shop I worked at once, a married customer emphatically tried to persuade me to join him at a hotel. There was a heartbreaking Spaniard who seduced me from a car park on an island in a sea, but that's a different story—one I've already written and archived. What intrigues me presently like nothing has in a very long time is the face and presence of a man I can't forget. A man I don't know and will never see again. And yet I feel like I've always known him or at least I have been waiting for what he would show me about myself in a parking lot. Because of my serendipitous crush from afar, I also became enchanted with performance art and new ways of expressing things I've always thought about.

When I saw him I was in rehearsals for a play that is best described as Saturday Night Live meets the History Channel. It was for the second show I've done with Beyond the Proscenium Productions at the Wilkerson Theatre next to California Stage. The theatre is in what I can only describe as this great little artist's enclave in Midtown Sacramento. There are a few theatres, artist galleries, and a poetry center all surrounding a gravely parking lot where empty paint cans, lumber, and assorted discarded objects decorate its boundaries.And one night performance artists arrived at our little enclave. Gallery SoToDo, "a non-profit organization whose goal is to promote international cultural exchanges within the context of Performance Art", rented our theatre for a three-day international congress for Performance Art. Gallery SoToDo says, "Performance Art is defined by the elements of time, space, variability and zeitgeist. It is an everyday experience. It is unbound by a beginning or an end. It happens."

I saw him. And it happened to me. I was enchanted and then transfixed and enthralled and awakened. And the performance is still going on, long after he and this band of traveling artists has left our little theatre parking lot. But how they used the body in their art stays with and transforms me.

I've always been interested in the use and image of the body in performance. I have everyday issues with my own body—rubenesque (i.e, voluptuous, zaftig, BBW, fat, large, etc—pick your poison or elixir) in a rail-thin world to say the least. I've been thin and I've been unthin. And I've experienced love and lust, adoration and humliation, and hope and loss on the pound pendulum. As a performer I often find myself trying to justify my image against the theatrically-scripted image of the body as well as society's idea of the body—they are rarely in agreement. As a sexual woman I've felt marginalized, fetishized, objectified, and even desired as a modern-day Venus of Willendorf. And it's the disagreement between the image of the theatrically-scripted body, society's desires for and of my body, and my personal experiences that inform a lot of my writing and exploration as an artist.

There is art in this disagreement. And this group of performance artists has excavated a little of me, unearthed and edged me one step closer to figuring out how I want to express that art and my feelings. I like discordance in a world that perfers conformity and homogenization. Some of the art I saw unabashedly used the body to express and create art. One of the artists coated his naked body in what appeared to be black paint as he burned pieces of paper with phrases on them with a blow torch. I don't know what the narrative of the piece was and it didn't matter to me. I indulged in the images alone. I saw the juxtaposition of the natural topography of the human form with the need to control communication, by creating it and then destroying it. I might have missed the intent of the artist, but what I took away is valuable nonetheless.

And the face, the man that drew me in to this art in the first place performed on another night. A night I'm not normally at the theatre when not in performance, I came hoping to see him. To see his art. And I did. As I entered the gravely parking lot he was there, and I gave a shy, "Hello". Not long after, he and two other men performed. Again, while I may not have correctly deduced their narrative of the piece, I was viscerally moved by the images, the sounds, and even the smell of their art. One man sat down wearing a motorcycle helmet with a BBQ-like stove attached to it. It was a functioning BBQ with flames worthy of any choice cut of meat. The other two men defeathered a chicken, butchered it, and cooked it on top of the stove-wearing man's head. Once the chicken was cooked, the men offered it to the audience, myself included. The primal images—fire, the origin of the food, the journey from animal to flame, and how it was manipulated by man to be consumed by man was moving. And the line between audience and art was blurred by the offering of chicken. This performance reminds us that the audience is as much a part of the art and the performance as the art and performers themselves. I was moved by a man with a blow torch who cooked a chicken in a parking lot on another man's head.

This will surely make my friend Marcos say his oft repeated mantra, "Oh Lord, Luthy, you're a wannabe artsy bohemian." He'll probably add, "would you be as attracted and interested if he had a bic lighter and a can of Spam?!" Probably, yes I would. He has more knowledge of my eccentric attractions than almost anyone. He's witnessed it and I can't dispute his authority on the subject of me and my predilections. I can't explain my attractions. I only know that the strongest ones are the most intangible—they have a chemistry unique to Kellie. My friend is sure to think that I'll want to run off and join the circus to make art and that I will write a play about blow torches and chicken; that I'll find a way to make it erotic and poetic. Maybe he's not entirely wrong. Maybe he's entirely right.

I have these images flashing through my mind's eye now. And whether they manifest in poetry, theatre, or something more abstract and daring is yet to be known. But they have been cultivated these past few days watching art trespass through our rehearsal and take over a parking lot normally used for backstage exits and entrances. Sometimes we have to reinvent the stage, shift the proscenium arch, and maybe even burn down that fourth wall and consume it.

Irrevocable changes happen in parking lots where men wield blow torches and cook chicken in orange jumpsuits only once in a blue moon. I'm happy and grateful that the cosmos ventured into my orbit for once.

Sometimes you are going through your life and someone trespasses, or so it seems at first, right through your rehearsal. I only know him from his hat, a few exchanged glances, and one shy hello. And I've realized he didn't trespass our rehearsal, he became part of my rehearsal as an artist and a person. And that is an irrevocable change I needed. Oh...and he really was that sexy. That kind of matters too.Isn't it strange what a random glance, a person's aura, the inexplicable attraction you feel towards them, and a little blow torch and fire can inspire? I'm sure he wouldn't remember me or feel the same as me and I don't know where he is, but I thank him. I'll take a sexy chicken-cooking muse like him any day!

**Said blow torch chicken artist has read this blog and responded that he was thankful that his art inspired and that he was always worried that he "did it for only himself and not others."